BY STEPHANIE ESLAKE
For the Australian arts industry, the year 2020 has been nothing short of exhausting. And it’s going to take time to recover.
But, if you’re ready, it can be helpful to start thinking about how you want to come back. What is your dream project? Try setting yourself a goal. Talk to people about it. Explore all your options. Maybe you could make 2021 the year that your career transforms into something even better than it was before.
This is the view of Cameron Lam, a composer who has made it to the other side of 2020, and an art music specialist at APRA AMCOS. We decided to take advantage of his incredible range of knowledge: he’s a creator and facilitator of Australian music. We asked him how you can work towards achieving your goals in 2021.
As a composer, Cameron knows where you’re coming from. And with the Art Music Fund open for submissions — ready to give $5,000 to a great project — the specialist sheds light on where you could go next.
Cameron, the year 2021 could signal new hope for our industry. How do you see the Art Music Fund fitting into a year of recovery?
2020 has been an incredibly difficult and unpredictable year, and while we can take the lessons of this year into our programming, practices, and plans for 2021, the pandemic isn’t over yet. Recovering, rebuilding, and finding our roles or niches in a new world takes time and the rare luxury to explore.
I feel that ongoing funding, like the Art Music Fund, is key to composers continuing to create, to explore what their practice can be, and to make the connect they need in order to grow.
Now more than ever, composers need the certainty that a commission fee provides, and I’m glad the Art Music Fund can help to provide that.
Applications are open, and words has it the process is a little easier this time. What’s changed?
Unlike in previous years, the grant amounts for the Art Music Fund are fixed. Each composer will receive $5,000, which is intended to be a contribution towards their commission fee.
In light of this, we’ve made the application shorter and simpler; I think we’re all experiencing grant fatigue right now. We no longer require budget information, nor official letters of support.
We’d instead like you to answer four questions about your practice, proposed piece, and plan. You’ll support this with a brief bio and recordings of your work to provide context to your application.
And that’s it – hopefully not too stressful.
That said, I wholeheartedly suggest giving yourself ample time to prepare and submit the grant, as the deadline is Tuesday 16 February.
Why is it important for artists to continue planning and making, even when the future is unpredictable?
The arts is no stranger to risk, to unpredictability, to the unknown. We’ve been dealing with these long before the pandemic. Despite this, we continue to dream and scheme, to create, connect, and communicate.
There’s been a lot of discussion in the industry and here on CutCommon about how important it is to stop, grieve lost opportunities, and not push through when it isn’t healthy for you to do so. I completely agree. I also believe another important step is preparing and returning to your work, when you’re ready.
Laying down plans, speaking to peers, and working with them to explore options for an application are a few great ways to lay down this foundation without having to commit resources just yet.
I would always recommend these projects be grant agnostic – not putting your eggs all in one basket – so your plans still have value should your application not be successful in this round or with this grant.
Use these conversations to create your own certainty. You may not know who will fund it yet, but hone in on exactly what you want to do. And, very importantly, how you want to do it.
When arts practitioners may be feeling exhausted from such a difficult year, how would you encourage them to keep pushing on and apply for opportunities like the Art Music Fund?
Start with a conversation, and share the load. Talk to partners about what they’d like to do, and find some common ground. Work with people towards a common goal.
I find an incredible amount of grant or project exhaustion comes from feeling like you’re the one who is responsible for everything, or from the isolation of working alone and having to come up with everything yourself.
So, what if you’re not sure what a good presentation plan might be for your great piece idea? Ask your performers, ask other performers, composers, industry contacts! Having a team of collaborators means you can have quiet days and not stress about productivity, and you’ve got access to information, people, and energy you wouldn’t on your own.
Also, please, start early and mull over things for a while. Nothing is more stressful than trying to throw everything together at the last minute. Small things over more time add up well.
As a composer yourself, how did you make it through the pandemic in one piece?
This year has been a bit of a fallow year for me in terms of dots on the page. Between moving to Melbourne to study, 2020 in general, and my job here at APRA AMCOS, there’s not been a lot of time for reflection and creation.
But this has meant turning my attention to all the other bits of composing, outside of the dots: researching, listening, meeting people, admin, learning new skills, reading about new business opportunities.
I’m not completely recharged, but I’m looking forward to getting back to some composition sketches over the break. And once I do have some more music in my mind and fingertips, I’m excited to use my 2020 lessons, to ensure it can connect with as many people as possible.
What sorts of projects would you like to see as an outcome from the Art Music Fund?
We’d like to see projects that extend someone’s reach, practice, or networks.
Or, a brave project that is aware of the world it is in, and wants to explore new ways of reaching audiences.
We are looking for ambitious works that have the support of community of people to see it to fruition.
Maybe that’s the next big jazz collaboration, or an experimental work to be experienced digitally or in a space. Perhaps it’s a killer work for several soloists, or an intricate work for a new ensemble. Or, it could be the project that sets off a series, new ways of writing, new ways of experiencing music, strong new partnerships.
I’m always excited by the breadth of applications we receive, and I’m looking forward to seeing that diversity reflected in our next round of recipients.
Any parting words of advice to those considering applying for the Art Music Fund this year?
Follow every lead to the end. How far can your music or your networks reach? Don’t hold back, explore everything.
Organise your thoughts and plan. What are the most important or key outcomes, and what are collateral outcomes?
Take the time to communicate yourself clearly. The panel wants to understand where you’re coming from and what you want to do. Make sure you tell them as effectively as possible.
And, please reach out to me with any enquiries or if you need assistance. I’m here to help the process go smoothly. I look forward to see the ideas that are out there coming to shape.
Submissions are now open for the APRA AMCOS Art Music Fund, closing 5pm February 16. Learn more on the website, or email Cameron directly at clam@apra.com.au.
Images supplied.
